@article{oai:icu.repo.nii.ac.jp:00005105,
 author = {櫻井, 遼太},
 issue = {49},
 journal = {ICU比較文化},
 month = {Jan},
 note = {This paper examines Kaneko Mitsuharu's IL (May 1965) in relation to his earlier work. In previous studies, researchers have pointed out that the depiction of Jesus Christ in IL is similar to that in A Tragedy of Men (『人間の悲劇』Ningen no higeki, December 1952). Past researchers have asserted that both depictions seem to echo the imagery of Kaneko's earlier poem, ""Shark"" (「鮫」""Same,"" October 1937). However, the researchers have relied heavily on imagery, and thus their arguments are less concrete and persuasive. This paper uses deconstruction theory to clarify the role of Jesus in ""IL"" (「IL」""Il,"" May 1965) and compare ""IL"" with Kaneko's earlier works of the Taishō era.
   The first chapter uses deconstruction theory to analyze the depiction of Jesus Christ in ""IL."" American literary critic Barbara Johnson argued that the function of the prose poem lies in deconstructing the verse poem through thematic repetition. By applying deconstruction theory to ""IL"", this analysis finds that ""IL"" echoes the poems in A Tragedy of Man in its use of stigmata (ふるきづのあと furukizu no ato) and red nail polish (爪化粧の紅 tsume keshō no beni). These elements represent the hopelessness of the human condition and sin. This chapter argues that stigmata also implies a compassionate gaze toward vulnerable groups in society. In summary, IL takes humanity as its theme, simultaneously depicting human despair and showing compassion toward society's vulnerable.
   The second chapter illustrates the thematic similarity between IL and Kaneko's first poetry collection, House on Earth (『赤土の家』Akatsuchi no ie). House on Earth displays the influence of the so-called ""democratic poets"" of the Taishō era. Democratic poets, such as Shiratori Shōgo (1890-1973) and Momota Sōji (1893-1955), were eager to demonstrate their freedom from old customs and adumbrate a new ideal way of life. Comparing their work with Kaneko's reveals the unique feature of the latter's poetry: his bird's-eye perspective of humanity. This feature shows that the roots of the compassionate gaze can be seen in the beginning of Kanko's work. Although IL and House on Earth take humanity as their theme, IL lacks the bird's-eye view of House on Earth.
   Approximately half a century passed between House on Earth and IL, during which Kaneko's writing style surely evolved. A personal essay that Kaneko wrote in his later years suggests that his writing style changed during a trip to Southeast Asia and Europe from 1928 to 1933. One of the difficulties of this trip was that Kaneko had to earn money along the way. Thus, Kaneko worked not only as a poet, but also as an artist and journalist. Kaneko wrote articles and drew sketches depicting the life of the people wherever he traveled, which no doubt contributed to the evolution of his writing style. Identifying the compassionate gaze in Kaneko's work during this transitional period is a task for the future.},
 pages = {23--60},
 title = {人間へのまなざし : 集大成としての金子光晴詩集『IL』の一考察},
 year = {2017}
}